Mr. Cox, whose excellent monograph on Homer I am glad to quote,[7] thinks that Homer quite found himself at Tynemouth, and points out in the “Voice from the Cliff” his “rhythm of line” whereby he holds the three figures together; but I am not sure that Homer did not get a suggestion of that rhythm of line up in London town on his perhaps occasional visits there. A hint of the types of the fisher girls, the repeated lines of the arms and dresses, with the strength gotten from the repetition, I seem to remember in Leighton’s picture called the “Summer Moon.” Albert Moore, too, was turning out rhythmical repetitions at that time and using models that remind us somewhat of those used by Homer, though, of course, slighter and more fanciful. The fisher girls in the “Voice from the Cliff” and the “Three Girls” are a little too pretty to be wholly original with Homer, and yet it must be acknowledged that such water-colors as “Mending the Nets” and “Watching the Tempest” give warning of the coming man. The two women seated on a bench in the “Mending the Nets” are young-faced, large-boned, big-bodied types that have a sculpturesque quality about them; and the “Watching the Tempest” throws out a suggestion of the Homeric sea that is to be. [7] _Winslow Homer: An Appreciation_, by Kenyon Cox, New York, 1914. It was in 1884 that Homer finally went to Prout’s Neck, near Scarborough, where he built a cottage on the shore and lived for the rest of his life, quite alone, practically shut out from art and artists, a recluse and a hermit yet within gunshot of a crowd. He lived there much as Thoreau at Walden Pond, cooking his own meals, doing his own gardening, raising his own tobacco, and rolling his own cigars. The city had never been attractive to him, and from first to last he preferred picturing the open spaces rather than streets and houses. It was from the isolation of Prout’s Neck that he began sending forth the pictures that made him famous. One of the earliest was the “Life Line” of 1884. It is a most dramatic illustration of a rescue at sea--a girl being brought ashore by a life-saving-station man. The two are swung in a buoy from the taut life-line and are being windlassed through the great waves. The girl is unconscious, and, lying helpless, catches the eye and the sympathy at once. That our interest in her might be all-absorbing, the painter has hidden the man’s face by a woollen muffler blown out by the wind.